armonia

December 5, 2016 | Author: guitarpro670 | Category: N/A
Share Embed Donate


Short Description

Download armonia...

Description

For Seriously Serious Guitarists!

Mastering Fretboard HARMONY

GUITAR DVD 1

THE FOUNDATION FIGURE 1 natural notes (the musical alphabet) on the A string

               k= k= k= k= (play “forward” then “backward”) one octave

1/2

*1/2

1/2

1/2

1/2

note: A

B

C

D E

F G A B

0

2

3

5

8 10 12 14 15 17 19 20 22

£

7

C

D E

G

1/2

k=

k=

1/2

0

G

1

3

A

B

5

7

k=

k=

1/2

1/2

F

C D 8

E

G

A

B

1/2

8

10

12

14 15

17

19 20

22

B

C

D

E

F

G

A

B C

D

E F

G

1fr

3fr

5fr

7

8

10

12 13

15

17

19 20

22

F

G

A

B C

D

E F

G

A

B C

D

A

D

10 12 13 15 17 19 20 22

E

1/2

1/2

C

D

E

F

G A B

£

1

3

5

6

8

C

D E

F

1/2

G A

10 12 13 15 17 18 20 22

B

1/2

1/2

1/2

1/2

C

D

E

F

2

4

5

7

9

10 12 14 16 17 19 21 22

G A B C D E

FIGURE 5 natural notes on the D string

3fr

5fr

6

8

10

12 13

15

17 18

20

22

D

E

F

G

A

B C

D

E F

G

A

1/2

1/2

5

7

F

G

9 10 12 14 15 17 19 21 22

1/2

3

2 GUITAR DVD

5

7

1/2

k=

1/2

1/2

k= 1/2

2fr

4fr

5fr

7

9

10

12

14

16 17

19

21 22

A

B

C

D

E F

G

A

B C

D

E F

k=

k=

1/2

1/2

1/2

k= 1/2

k= 1/2

2fr

3fr

5fr

7

9 10

12

14 15

17

19

21 22

E

F

G

A

B C

D

E F

G

A

B C

1fr

3fr

5fr

7

8

10

12 13

15

17

19 20

22

F

G

A

B

C

D

E F

G

A

B C

D

D

               k= k= k= k= note: E F G A B C D E F G A B C D 1/2

k=

1/2

1/2

FIGURE 6 natural notes on the low E string

k= 1/2

               k= k= k= k= note: D E F G A B C D E F G A B C 1/2

1/2

1

1/2

C

1/2

B

3

k=

1/2

1/2

1/2

A

2

k=

1/2

1/2

0

k=

1fr

               k= k= k= k=

0

k=

1/2

FIGURE 4 natural notes on the G string

0

1/2

1/2

1/2

note: B

note: G

k=

1/2

1/2

0

k= 1/2

C

               k= k= k= k=

£

k=

7

1/2

F

1/2

£

1/2

5fr

1/2

1/2

1/2

FIGURE 3 natural notes on the B string

£

k=

3fr

             

note: E

£

F

1/2

2fr

*These notes are a half step, or one fret, apart; all other pairs of adjacent notes are a whole-step, or two frets, apart.

FIGURE 2 natural notes on the high E string



k=

1/2

1/2

1/2

8 10 12 13 15 17 19 20 22

k= 1/2

E

k= 1/2

k= 1/2

The Major Scale Formula

3 E

4 F

5 G

5

6

8

£

7





scale degree: 1 note: C







1/2





10







1/2

8

£

8

1/2

FIGURE 8 C major scale, descending

 7 B

6 A

7

5

13

7

1/2

5

12

2 D

5

2 D

4 F

1 C

6 A

scale degree: 1 note: C

3 E

7 B



























FIGURE 7 C major scale, ascending



4 F

3 E

8

6

5

1 C

7 B

7

5

4

7 B

1 C

2 D

19

20

22

5 G

6 A

15

17



1/2

 1/2

2 D





1/2

1/2

5 G





8v a

6 A

5 G

4 F

3 E

7

5

3

2





2 D

5









1 C

7 B

6 A

5 G

4 F

3 E

3

2

5

3

1

0

1/2

1/2



The Major Scale Up and Down Each String















2 D

3 E

4 F

5 G

6 A

7 B

1 C

3

5

6

8

10

12

13

FIGURE 9 C major scale on the B string, one octave

  scale degree: 1 note: C

£

1

FIGURE 10 C major scale on the high E string, extended

       

8v a



        

         

scale degree: 1 note: C

2 D

3 E

4 F

5 G

6 A

7 B

1 C

2 D

1 C

7 B

6 A

5 G

4 F

3 E

2 D

1 C

7 B

6 A

5 G

4 F

3 E

4 F

5 G

6 A

7 B

1 C

8

10

12

13

15

17

19

20

22

20

19

17

15

13

12

10

8

7

5

3

1

0

1

3

5

7

8

£

       

        

         

FIGURE 11 C major scale on the B string, extended



scale degree: 1 note: C

£

1

8v a

2 D

3 E

4 F

5 G

6 A

7 B

1 C

2 D

3 E

4 F

5 G

6 A

5 G

4 F

3 E

2 D

1 C

7 B

6 A

5 G

4 F

3 E

2 D

1 C

7 B

1 C

3

5

6

8

10

12

13

15

17

18

20

22

20

18

17

15

13

12

10

8

6

5

3

1

0

1

GUITAR DVD 3

               

FIGURE 12 C major scale on the G string, extended

scale degree: 1 note: C

£

5

2 3 D E

4 F

4 F

1 C

7 B

6 A

5 G

7

10 12 14 16 17 19 21 22

5

4

2

0

9

5 6 G A

7 B

1 C

2 D

3 E

FIGURE 13 C major scale on the D string, extended

               

scale degree: 1 note: C

£

FIGURE 14 C major scale on the A string, extended

2 D

3 E

4 F

5 G

£

5

7

8

10 12 14 15 17 19 20 22

3

6 A

7 B

1 C

2 D

3 E

4 F

5 1 G C 3

7 B

6 A

2

0

3 E

4 F

5 G

6 A

7 B

1 C

1 C

10 12 14 15 17 19 21 22 10

7 6 5 B A G

4 F

3 E

2 D

9

3

2

0

7

5

FIGURE 15 C major scale on the low E string, extended

               

scale degree: 1 note: C

2 D

               scale degree: 1 note: C

£

TWO-PART HARMONY:

8

2 D

3 E

4 F

5 G

6 A

7 B

1 C

2 D

1 C

7 B

6 A

5 G

4 3 F E

10 12 13 15 17 19 20 22

8

7

5

3

1

0

The Major Scale Harmonized in Thirds on Each Pair of Adjacent Strings FIGURE 16 C major scale in thirds on the B and high E strings

 £

FIGURE 17 C major scale in thirds on the G and B strings

    8va            

*M m m 0 1

1 3

M M m m

3 5

5 6

7 8

M M m

    8v a           

M M m

8 10 12 13 15 17 19 20 10 12 13 15 17 18 20 22

£

*M = major third interval; m = minor third

5 5

6 7

8 9

10 12 13 15 17 18 10 12 14 16 17 19

    

19 22 21 22

5 5

3 4

1 2

                  

FIGURE 19 C major scale in thirds on the A and D strings

£

£

FIGURE 18 C major scale in thirds on the D and G strings

9 10

10 12

12 14

14 15

16 17

17 19

19 21

21 22

9 10

7 9

5 7

4 5

2 3

FIGURE 20 C major scale in thirds on the low E and A strings

                

0 2

2 3

3 5

5 7

7 8

9 10

10 12

12 14

  

















M

m

m

M

M

m

m

M

m

7 8

8 10

10 12

12 13

14 15

15 17

17 19

19 20

20 22

£

FIGURE 21 running thirds in tempo with a metronome

             Moderately q = 100

£

0 1

1 3

4 GUITAR DVD

3 5

5 6

7 8

8 10

10 12

12 13

14 15

15 17

17 19

19 20

21 22

3 5

2 3

0 1

m

M

M

13 15

13 15

0 1

20 22

19 20

17 18

15 17

12 13

10 12

8 10

7 8

5 6

0 2



 

19 20

2 3



         

17 18

 



8v a        

15 17

0 0

3 5

1 3

The Major Scale Harmonized in Sixths, “Mandolin Style” FIGURE 22 converting a major third interval to a minor sixth M3 m6

 

   £

FIGURE 23 converting a minor third interval to a major sixth m3 M6

 

  

8 5

5 5

£

FIGURE 24 C major scale in sixths on the B and high E strings



10 6

6 7

8va throughout                       

8 5

£

10 6

12 8

13 10

15 12

17 13

19 15

20 17

22 18

8 5

7 3

5 1

3 0

FIGURE 25 same thing with tremolo strumming (“mandolin style”)

  £

8va throughout tremolo strum 16th notes

M MM MM M    MMM MMM 8 5

10 6

12 8

       

    

       

sim.

13 10

15 12

17 13

19 15

20 17

22 18

20 17

19 15

17 13

15 12

 £

        

13 9

15 10

17 12

18 14

20 16

22 17

12 7

10 5

8 4

6 2

5 0

FIGURE 28 C major scale in sixths on the A and D strings

                      £

10 7

12 8

14 10

15 12

17 14

19 15

21 17

22 19

10 7

9 5

7 3

10 6

8 5

7 3

5 1

3 0

5 1

7 3

 

8 5

8 5

FIGURE 27 C major scale in sixths on the D and G strings

           

13 9

12 8

   

                      

FIGURE 26 C major scale in sixths on the G and B strings 8v a

13 10

       

5 2

3 0

£

5 2

7 3

9 5

10 7

12 9

14 10

16 12

17 14

19 15

21 17

22 19

5 2

4 0

FIGURE 29 C major scale in sixths on the low E and A strings

                   

 £

3 0

5 1

7 3

8 5

10 7

12 8

14 10

15 12

17 13

19 15

20 17

22 19

Sixths, Played on Non-adjacent Strings FIGURE 30 C major scale in sixths on the G and high E strings

                         8v a

£

8

10 12 13 15 17 19 20

22

8

7

5

3

1

0

9

10 12 14 16 17 19 21

22

9

7

5

4

2

0

                        

FIGURE 32 C major scale in sixths on the A and G strings

£

5

7

9

10

12

14

16

17

19

21

5

4

2

0

7

8

10

12

14

15

17

19

20

22

7

5

3

2

FIGURE 31 C major scale in sixths on the D and G strings

    8v a                      £

1

3

5

6

8

10 12 13

15 17 18 20 22

1

0

2

3

5

7

9

10 12 14

15 17 19 21 22

2

0

FIGURE 33 C major scale in sixths on the low E and D strings

                      

£

10

12

14

15

17

19

21

10

9

7

5

3

2

0

12

13

15

17

19

20

22

12

10

8

7

5

3

1

GUITAR DVD 5

THE ESSENTIAL GUITAR KEYS E Major

  8v a               

FIGURE 34 E major scale on the high E string

FIGURE 35 E major scale on the B string

               8va throughout

0

£

2

4

5

7

9

11 12 14 16 17 19 21

£

FIGURE 36 E major scale on the G string

 



5

7

£

9

8

6

4

2

                 

FIGURE 38 E major scale in thirds on the G and B strings



4 5

£

1

0

 

4

2

0

5 7

7 9

9 11 12 14 16 17 19 21 10 12 14 16 17 19 21 22

4 5

2 4

0 2

FIGURE 39 E major scale in thirds on the D and G strings

 



let ring

£

5

    8va               

let ring

11 13 14 16 18 20 21

10 12 14 16 17 19 21 22

FIGURE 37 E major scale in thirds on the B and high E strings

              9

9

               

let ring

9 9

10 12 14 16 17 19 21 11 13 14 16 18 20 21

9 9

7 8

5 6

4 4

2 2

£

0 1

0

Key of G FIGURE 40 G major scale

1 2

2 4

4 6

6 7

8 9

9 11 13 14 16 18 20 11 13 14 16 18 19 21

0

                

FIGURE 41 G major scale in thirds on the G and B strings

         







*let ring

£

0

2

4

5

7

9

11

£

12

0 0

1 2

3 4

5 5

7 7

8 9

10 11

12 12

13 14

15 16

17 17

19 19

20 21

0 *optional: tune open A string down to G to use it as a bass pedal tone

The “Friendliest” Major Keys

        

FIGURE 42 D major scale

£

3 5 7 8 10 12 14 15

FIGURE 43 A major scale

         

FIGURE 44 E major scale

£

£

2 4 6 7 9 11 13 14

FIGURE 46 G major scale in thirds on the B and high E string





8v a



 

                 

£

0

6 GUITAR DVD

19 20 20 22

7 8

5 7

3 5

2 0 3 1

          



£

2 4 6 7 9 11 13 14

0 2 4 5 7 9 11 12

FIGURE 47 “leap-frogging” minor sixths and major thirds

                8v a

m6

let ring

7 8 10 12 14 15 17 8 10 12 13 15 17 19

  

FIGURE 45 B major scale

£

4

8

M3

m6

M3

m6

M3

8

12

18

12

8

7

15

17

15

7

m6 4

M3

8 5





m6

4 2

 M3

5 3

2

FIGURE 48 G major scale in sixths on the B and high E strings, “mandolin style”

MMM MMM          MM M

MM M

tremolo strum 16th notes on the top two strings throughout

let ring

3 0 0

£

5 1

7 3

    

       

17 13

22 19

     

8v a

8 5

10 7

12 8

14 10

15 12

19 15

20 17

FIGURE 49 G major scale in sixths on the G and high E strings







£

3

5

7

8

10 12 14 15 17 19 20

3

2

0

4

5

7

9

11 12 14 16 17 19 21

4

2

0

£

                     

FIGURE 51 sixths in G major on the A and G strings

2

4

5

7

9

11

12

14

16

17

19

21

2

3

5

7

9

10

12

14

16

17

19

21

22

17 13

15 12

14 10

12 8

10 7

8 5

7 3

5 1

3 0

*let ring

*optional: tune open A string down to G and use it as a bass pedal tone

0

19 15

                             

0

£

20 17

FIGURE 50 sixths in G major on the D and B strings

    8v a                  

*let ring

22 19

       

       

0

8

10 12 13 15 17 19 20 22

8

7

5

3

1

0

9

10 12 14 16 17 19 21 22

9

7

5

4

2

0

*optional: tune open A string down to G and use it as a bass pedal tone

FIGURE 52 sixths in G major on the low E and D strings



                       



£

5

7

9

10

12

14

16

17

19

21

5

4

2

0

7

8

10

12

14

15

17

19

20

22

7

5

3

2

Harmonizing the Major Scale in Fifths on Adjacent Strings FIGURE 53 C major scale in fifths on the B and high E strings

 £



 





 





 

8v a

 





 

3 1

5 3

7 5

8 6

10 8

12 10

13 12

15 13

17 15

19 17

20 18

22 20

                        

FIGURE 54 C major scale in fifths on the G and B strings

£

8 5

6 4

5 2

8v a

£

3 0

0

*optional: tune low E string down to C

                         8v a 0

5 3

7 5

9 7

10 12 14 15 17 19 21 22 8 10 12 14 15 17 19 20

5 3

3 2

1 0

*let ring

FIGURE 56 same thing on the A and D strings

£

3 1

                        

8v a

10 12 13 15 17 18 20 22 7 9 10 12 14 16 17 19



FIGURE 55 C major scale in fifths on the D and G strings

*let ring

8 5



2 0

12 14 16 17 19 21 22 10 12 14 15 17 19 21

12 10 10 9

9 7

7 5

5 3

4 2

2 0

0

*optional: tune low E string down to C

FIGURE 57 same thing on the low E and A strings

                          8v a £

0

10 12 14 15 17 19 20 22 8 10 12 13 15 17 19 20

10 8

8 7

7 5

5 3

3 1

2 0

GUITAR DVD 7

Fifths, Played on Non-adjacent Strings

    8v a                 

                      

FIGURE 58 C major scale in fifths on the G and high E strings

£

3

5

7

8

10

12

13

15

17

19

20

3

1

0

5

7

9

10

12

14

16

17

19

21

22

5

4

2

FIGURE 59 C major scale in fifths on the D and B strings

£

8

10

12

13

15

17

18

20

8

6

5

3

1 0

10

12

14

15

17

19

21

22

10 9

7

5

3 2

                  

FIGURE 61 C major scale in fifths on the low E and D strings

£

£

FIGURE 60 C major scale in fifths on the A and G strings

0

2

4

5

7

9

10

12

14

16

17

19

3

5

7

8

10

12

14

15

17

19

20

22

                     5

7

9

10

12

14

15

17

19

5

3

2

0

8

10

12

13

15

17

19

20

22

8

7

5

3

The Major Scale Harmonized in Fourths FIGURE 62 C major scale in fourths on the top two strings

FIGURE 63 C major scale in fourths on the G and B strings

                     

  8v a               

8v a

£

8 8

10 10

11 12

13 13

15 15

17 17

19 18

20 20

22 22

8 8

7 6

5 5

3 3

1 1

0 0

£

                      

FIGURE 64 C major scale in fourths on the D and G strings

£

5 5

7 7

9 9

10 12 14 16 17 19 21 22 10 12 14 15 17 19 21 22

5 5

4 3

2 2

£







3 3

5 5

7 7

3 2

5 4

6 5

8 7

10 9

12 10

13 12

15 14

17 16

18 17

20 19

22 21

FIGURE 65 C major scale in fourths on the A and D strings

                          £

0 0

FIGURE 66 C major scale in fourths on the bottom two strings



1 0

10 10

9 8

7 7

5 5

3 3

2 2

0 0



















8 8

10 10

12 12

14 13

15 15

17 17

19 19

20 20

22 22

10 12 14 15 17 19 21 22 10 12 14 15 17 19 20 22







3 3

2 1

0 0

THREE-PART HARMONY

The Major Scale Harmonized in Root-Position Diatonic Triads FIGURE 67 FIGURE 68 C major scale diatonic triads C major triad on the top three strings

   £

3 5 5

8 GUITAR DVD

FIGURE 69 C major scale diatonic triads on the D, G and B strings

I ii iii IV V vi viiº I ii iii IV I viiº vi C Dm Em F G Am Bº C Dm Em F C Bº Am

8v a                       

£

3 5 5

5 6 7

7 8 9

8 10 12 13 15 17 19 20 10 12 13 15 17 18 20 22 10 12 14 16 17 19 21 22

3 5 5

1 3 4

0 1 2

I ii iii IV V vi viiº I I viiº vi V IV iii C Dm Am F G Am Bº C C Bº Am G F Em

                       £

8 10 12 13 15 17 18 20 8 9 10 12 14 16 17 19 21 9 10 12 14 15 17 19 21 22 10

6 7 9

5 5 7

3 4 5

1 2 3

0 0 2

FIGURE 70 C major diatonic triads on the A, D and G strings I ii iii IV V vi viiº C Dm Em F G Am Bº

FIGURE 71 same thing on the low E, A and D strings I C

0 2 3

2 3 5

4 5 7

5 7 8

7 9 10

9 10 12

10 12 14

ii iii Dm Em

IV F

V G

vi viiº Am Bº

I C

ii I Dm C

viiº Bº

vi V Am G

5 7 8

7 8 10

10 12 13

12 14 15

14 15 17

17 19 20

19 20 22

3 5 7

2 3 5

                    

             £

I C

£

12 14 15

Root-Position Diatonic Triads in the Key of G

FIGURE 72 G major scale diatonic triads on the top three strings I ii iii IV V G Am Bm C D

vi Em

I viiº vi G F#º Em

V IV iii ii D C Bm Am

10 12 12

5 7 7

9 10 12

£

12 13 14

14 15 16

15 17 17

17 19 19

19 20 21

8 10 11

7 8 9

3 5 5

2 3 4

ii iii IV Am Bm C

V D

vi Em

viiº I F#º G

I G

V vi viiº I ii iii IV D Em F#º G Am Bm C

I viiº vi G F#º Em

3 4 5

10 11 12

3 4 5

          8v a            

0 1 2

17 19 21

7 9 10

viiº vi F#º Em

£

5 5 7

V D

IV C

£

9 10 12

11 12 14

12 14 15

14 16 17

16 17 19

FIGURE 76 C major triads inversions on the D, G and B strings C C/E C/G C C root position

   £

8 9 10

1st 2nd inversion inversion

 

 

13 12 14

17 17 17

root position



8v a

18 19 20

root position



19 21 22

5 7 9

4 5 7

2 4 5

0 2 3

root position

  £

0 2 3

C/E

C/G

1st inversion

2nd inversion

  5 5 7

 

C/G

C/E

9 9 10

8 9 10

root position

  

13 14 16

15 16 17

1st 2nd inversion inversion

 

3 5 5

£ C/E

root position

17 17 19

19 19 21

20 21 22

1 2 4

0 0 2

8v a

root position

 



 

8 8 9

1st inversion

12 13 12

15 17 17

C

root position

20 20 21



C/G

2nd inversion

 

3 5 5

0 1 2

1st inversion

C/G

2nd inversion

C

C

root position

C/G

root position

C/E

2nd inversion

1st inversion

    8v a  3                 3 3 w/pick and fingers

 

5 5 5

3

£

1 0 2

C

C/E

C/G

root position

1st inversion

 

2nd inversion

17 17 19

21 22 22

12 14 15

12 12 14

FIGURE 75 C major triads inversions on the top three strings C C/E C/G C C/E

C

2nd 1st inversion inversion

 

 

8 9 10

FIGURE 77 same thing w/arpeggiation

FIGURE 78 C major triad inversions on the A, D and G strings C

7 7 9

Triad Inversions: Key of C

           8va           7 9 10

0 2 3

I ii iii IV G Am Bm C

FIGURE 74 G major diatonic triads on the A, D and G strings I G

5 7 8

FIGURE 73 G major diatonic triads on the D, G and B strings

8v a                   

10 12 12

15 17 19

 

10

3

9

8 14

12

13 17

17

17 22

3

21

20 10

9

3

8 5

5

5

2

0

1

FIGURE 79 C major triad inversions on the bottom three strings C root position

  £

5 7 8

C/E

C/G

1st inversion

2nd inversion

  10 10 12

 

14 15 15

C root position

 

17 19 20

C root position

 5 7 8

C/G 2nd inversion

  2 3 3

GUITAR DVD 9

Triad Inversions: Key of G FIGURE 80 G major triad inversions on the D, G and B strings G G/B G/D G G/B G G/D root position

    £

1st inversion

 

3 4 5

8 7 9

2nd inversion

root position

 

1st inversion

 

 

8v a

12 12 12

root position

15 16 17

1st inversion

 

20 19 21

FIGURE 81 G major triad inversions on the top three strings G G/B G/D G G/D G/B

£

0 0 0

    £

7 9 10

1st inversion

 

12 12 14

2nd inversion



root position

19 21 22

7 9 10

root position

 

16 17 17

 

2nd inversion

 

4 5 5

15 15 16



root position



£

0 0 2

First-Inversion Diatonic Triads: Key of C

 

 

 

 

 

 

 

 

8 8 9

10 10 10

12 12 12

13 13 14

15 15 16

17 17 17

19 18 19

20 20 21

22 22 22

FIGURE 85 C major diatonic triads, 1st inversion, on the top three strings I ii iii IV V vi viiº C/E Dm/F Em/G F/A G/B Am/C Bº/D

 

 

 

 

 

 

 

£

3 2 3

5 4 5

6 5 7

8 7 9

10 9 10

12 10 12

1 0 2

£

5 5 7



2nd inversion

1st inversion

10 12 12

7 8 7

3 3 4

 

 

 

 

 

 

 

 

7 7 8

9 9 10

10 10 12

12 12 14

14 14 15

16 15 17

17 17 19

 

8 8 9

7 6 7

ii Dm/F

13 12 14

 

viiº Bº/D

 

 

1st inversion

2nd inversion

12 14 15

17 17 19

21 22 22

vi Am/C

  5 5 5

V G/B

  3 3 4

iii Em/G

 

 

 

9 10 10

I C/E

I C/E

root position

 

5 5 7

FIGURE 86 C major diatonic triads, 1st inversion on the A, D and G strings I ii iii IV V vi viiº I C/E Dm/F Em/G F/A G/B Am/C Bº/D C/E

 

2nd inversion

 

0 2 3

 

£

19 20 19

1st inversion



FIGURE 84 C major diatonic triads, 1st inversion, on the top three strings I ii iii IV V vi viiº I ii C/E Dm/F Em/G F/A G/B Am/C Bº/D C/E Dm/F 8v a

 

root position

FIGURE 83 G major triad inversions on the bottom three strings G G/B G/D G G/B G/D

1st inversion

 

10 12 12

2nd inversion

 

   

FIGURE 82 G major triad inversions on the A, D and G strings G G/B G/D G G G/D G/B root position

1st inversion

8v a

 

3 4 5

root position

IV F/A

IV F/A

iii Em/G

 

 

1 1 2

0 0 0

V G/B

 

8v a

 

 

 

15 14 15

17 16 17

18 17 19

20 19 21

ii Dm/F

iii Em/G

 

22 21 22

 

I C/E

viiº Bº/D

 

 

 

 

21 21 22

5 5 7

4 3 5

2 2 3

0 0 2

ii Dm/A

iii Em/B

 

19 19 20

vi Am/C

vi Am/C

V G/B

Second-Inversion Diatonic Triads: Key of C FIGURE 87 C major diatonic triads, 2nd inversion on the top three strings I ii iii IV V vi viiº C/G Dm/A Em/B F/C G/D Am/E Bº/F

 £

 

 

 

 

 

 

 

0 1 0

1 3 2

3 5 4

5 6 5

7 8 7

8 10 9

10 12 10

10 GUITAR DVD

I C/G

 

12 13 12

 

 

13 15 14

15 17 16

8v a

IV F/C

V G/D

17 18 17

19 20 19

 

 

vi Am/E

 

20 22 21

FIGURE 88 C major diatonic triads, 2nd inversion, on the D, G and B strings I ii iii IV V vi viiº I ii C/G Dm/A Em/B F/C G/D Am/E Bº/F C/G Dm/A

 £

 

 

 

 

 

 

 

 

5 5 5

6 7 7

8 9 9

10 10 10

12 12 12

13 14 14

15 16 15

17 17 17

iii Em/B

IV F/C

 

 

 

8v a

18 19 19

I C/G

20 21 21

 

22 22 22

5 5 5

viiº Bº/F

vi Am/E

V G/D

 

 

 

3 4 3

1 2 2

0 0 0

Triad Inversions: Key of E FIGURE 89 E major triad inversions on the top three strings E/G# E/B E E/G# E/B E 1st inversion

     

2nd inversion

£

1st inversion

 

2nd inversion

root position

7 9 9

12 12 13

16 17 16

19 21 21



 

0 0 1

root position

4 5 4

FIGURE 90 E major triad inversions on the D, G and B strings E E/G# E/B E E/G# E/B root position



 

8v a

1st inversion

     £

OPEN-VOICED TRIADS

root position

1st inversion

 

2nd inversion

9 9 9

12 13 14

17 16 18

21 21 21

 

 

0 1 2

 

2nd inversion

5 4 6



C Major Inversions

FIGURE 92 open-voiced C major triad inversions on the D, B and high E strings C/E C/G C C/F C/G

FIGURE 91 “drop-2” voicing C C/E

  

 

3 5 5

3 1

£

  

  

root 1st position inversion

£

2

8v a

 

3 1

8 5

12 8

15 13

20 17

2

5

10

14

17

FIGURE 95 open-voiced C major triad inversions on the low E, A and G strings C/G C C/E C/G

£

5 2

9 5

12 10

17 14

3

8

12

15

  £

0 2 3

 

  

5 5 3

 

  

 

 

8v a

£

5

8

13

17

18

5 3

10 7

14 10

17 15

22 19

C

C/G

C/G

C/E

  

  

FIGURE 96 open-voiced C major triad inversions played up and across the neck C/G

  

 

  

  

  

 

FIGURE 94 open-voiced C major triad inversions on the A, D and G strings C C/E C/G C C/E

FIGURE 93 “raise-2” voicing C C

C

  

   £

5 2

9 5

3

8

C/E

 

C/G

C

  

8 5

13 9

7

10

8v a

  

C/E

C/G

 

  

C/E

 

  

C/E

  

 

C

  

12 8

15 13

20 17

15 13

17

13

8

5

10

14

17

14

17 15

14 10

10 7

5 3

5 2

0 3 0

3

Harmonizing the Major Scale in 10ths FIGURE 97 C major scale in 10ths on the D and high E strings N.C.(C) (Dm)(Em)(F) (G) (Am)(Bº)(C) (Bº) (Am)(G) (F) (Em)(Dm)

FIGURE 98 C major scale in 10ths on the A and B strings N.C.(C) (Dm)(Em) (F) (G) (Am)(Bº) (C) (Dm)(Em)(F) (C) (Bº) (Am)

                           

8v a

 £

12

13

15

17

19

20

22

12

10

8

7

5

3

1

10

12

14

15

17

19

21

10

9

7

5

3

2

0

 £

   8v a                         5

6

8

10

12

13

15

17

18

20

22

5

3

1

3

5

7

8

10

12

14

15

17

19

20

3

2

0

FIGURE 99 G major scale in 10ths N.C.(G) (Am) (Bm) (C) (D) (Em) (F#º) (G)

FIGURE 100 G major scale in 10ths on the low E and G strings N.C.(G) (Am) (Bm) (C) (D) (Em) (F#º) (G) (Am) (Bm) (C) (G) (F#º) (Em)

£

£

                  0 3

1

3

5

7

8

10

12

0

2

3

5

7

9

10

                              4

5

7

9

11

12

14

16

17

19

21

4

2

0

3

5

7

8

10

12

14

15

17

19

20

3

2

0

GUITAR DVD 11

FIGURE 101 G major scale in 10ths on the D and high E strings N.C.(G)

(Am)

 

    £

(Bm)

 

 

 

(C)

 

(D)

(Em)

(G)

(Am)

(Bm)

 

 

 

8v a

 

(G)

(F#º)

 

(Em)

 

(D)

 

 

7

8

10

12

14

15

17

19

20

22

7

5

3

2

5

7

9

10

12

14

16

17

19

21

5

4

2

0

FIGURE 102 G major triad inversions in 10ths and 11ths on the D and high E strings

 

 

    £

(F#º)

 

 

8v a

 

FIGURE 103 G major triad inversions in 10ths and 11ths on the low E and G strings

 

7

10

15

19

22

7

3

5

9

12

17

21

5

0



 

   £

 

 

 

FIGURE 104 G major triad inversions in 10ths and 11ths on the A and B strings

4

7

12

16

17

3

7

10

15

17

£

 

 

   

 

 

 

12

15

20

12

8

3

10

14

17

10

5

2

Harmonizing the Major Scale with Open-Voiced Triads FIGURE 105 C major scale in open-voiced root-position triads on the A, D and B strings C Dm Em F G Am Bº C Dm Em F C Bº Am

FIGURE 106 C major scale in open-voiced root-position triads on the D, G and high E strings C Dm Em F G Am Bº C Bº Am G F Em Dm

   8v a                           £

5

6

8

10

12

13

15

17

18

20

22

5

3

1

5 3

7 5

9 7

10 8

12 10

14 12

15 14

17 15

19 17

21 19

22 20

5 3

3 2

2 0

FIGURE 107 arpeggiation pattern C Dm

  

 



let each chord ring

£

5

Em



6 5

3

5

  7

£

F

13

15

17

19

20

22

12

10

8

7

5

3

1

12 10

14 12

16 14

17 15

19 17

21 19

22 21

12 10

10 9

9 7

7 5

5 3

4 2

2 0

 



10 9

12

G

 



8 7

                             8v a

Am

 



12 10

8

10

 





13 12

12

  C



15 14

14



17 15

17

15

“STACKED” CHORD VOICINGS

Stock Open Chords (a.k.a. “Cowboy” chords) FIGURE 108 C

FIGURE 109 FIGURE 110 G D

32 1

32

4

132

FIGURE 111 A

234

FIGURE 112 G

21

34

FIGURE 113 G5

2

34

FIGURE 114 Am

231

241

or 2 3 1

Barre Chords FIGURE 118 F

FIGURE 119 E

FIGURE 120 movable “E shape” E F F#(G¨)

G

FIGURE 115 Dm

G#(A¨)

A

4fr

134211

12 GUITAR DVD

342

342

134211

134211

134211

134211

FIGURE 116 Em

134211

231

23

B

A#(B¨) 5fr

FIGURE 117 E

7fr

6fr

134211

134211

C

D

C#(D¨) 8fr

9fr

134211

134211

E

D#(E¨) 10fr

11fr

134211

FIGURE 121 C

F 12fr

134211

13fr

134211

134211

1444

or 1 3 3 3

FIGURE 122 the “rock” A voicing and fingering

  let ring       

A

D/A

A

D/A

A

£

2 2 2 0

3 2 4

2 2 2

3 2 4

2 2 2

 

 

 

FIGURE 123 movable “A” shape B C B¨

 

FIGURE 124 F

etc.

G

A

B

C

5fr

1444

1444

FIGURE 125 A

1444

134211

1444

B

C

D

E

F

5fr

111

1444

1444

5fr

1444

1444

134211

FIGURE 129 the I, IV and V chords generated from the C major scale I IV V I C F G C

£

3 5 5

 



8v a

8 10 10

10 12 12

15 17 17

134211

 

12fr

1444

B

C

5fr

134211

FIGURE 130 C major I C

10fr

1444

A 10fr

134211

A

8fr

1444

8fr

134211

  

134211

G

7fr

FIGURE 128 parallel movement with “E shape” major barre chords F A C G D

134211

134211

14444

or 1 3 3 3

FIGURE 127 A

134211

8fr

FIGURE 126 B6

B

111

134211

7fr

134211

8fr

134211

V G

I C

I C

IV F 8fr

134211

134211

FIGURE 131 C major

IV F

1444

G

7fr

134211

1444

134211

V G 8fr

1444

I C 10fr

1444

8fr

134211

FIGURE 132 A major I A

IV D 5fr

134211

V E 5fr

1444

I A 7fr

1444

I A

IV D

V E

I A

5fr

134211

111

132

231

111

GUITAR DVD 13

FIGURE 133 B major I IV B E

V F#

I B

I B

IV E

V F#

7fr

1444

231

134211

1444

I B

7fr

134211

1444

9fr

7fr

1444

134211

V G

I C

FIGURE 134 C major I C

IV F

V G

I C

I C

IV F

1444

134211

134211

1444

32 1

134211

V A

I D

I D

IV G

32

4

32 1

FIGURE 135 D major I D

IV G 5fr

5fr

5fr

10fr

1444

134211

134211

1444

134211

I D

IV G

V A

I D

I D

132

21

3

234

FIGURE 136 E major I IV E A

132

V B

21

FIGURE 138 F major I IV F B¨

134211

1444

FIGURE 139 G major I IV G C

10fr

1444

134211

V A

34

I D

111

132

FIGURE 137 I-IV-V progression in E

I E

1444

111

12fr

IV G

132

I D

10fr

1444

E

A

B

E

 º ºº º ºººº ºººº ºººº ad lib strum pattern



231

V A

231

V C

I F

I F

IV B¨

V C

I F

1444

134211

134211

1444

32 1

134211

V D

I G

I G

V D

I G

IV C

5fr

134211

1444

1444

134211

32

132

32 1

4

32

4

Relative Minor and Major Chords FIGURE 140 I C

FIGURE 141 I C

vi Am

FIGURE 142 I C

vi Am 5fr

32 1

231

FIGURE 144 I C

14 GUITAR DVD

17fr

111

111

FIGURE 145 Key of A major I vi A F#m

vi Am

15fr

341

341

8fr

211

8fr

231

FIGURE 146 Key of B I vi B G#m

5fr

134211

7fr

134111

FIGURE 143 I C

vi Am

134211

4fr

134111

vi Am

12fr

132

12fr

321

FIGURE 147 Key of C I vi C Am

I C

vi Am

I C

vi Am

5fr

1444

231

1444

134111

I D

iv Bm

FIGURE 148 Key of D I iv D Bm

8fr

5fr

134211

134111

FIGURE 149 Key of E E

C#m

5fr

1444

13421

132

13421

A#m(B¨m)

Bm

Cm

C#m(D¨m)

Dm

4fr

341

13421

13421

13421

FIGURE 152 I-vi-I progression in F F Dm

º

º

º

º

ad lib strum pattern

º

13421

º

º

FIGURE 151 Key of F I vi F Dm

etc. 5fr

8fr

13421

º

F

º

1444

º

º

º

º

º

º



º

IV F

(repeat previous bar)

º





FIGURE 154 Key of G I G

Dm

vi Em

º

I F

vi Dm

5fr

13421

º

FIGURE 153 diatonic progression in C I vi C Am ad lib strum pattern

13421

1444

FIGURE 150 movable “Am shape” minor barre chord Am

4fr

7fr

º ii Dm

º

134211

º

231

F

º

»

º



I G

vi Em

º º º º º º º º º º º º º º º º º º º º º º º º » ad lib strum pattern

Progressions that Incorporate the I, IV, V and vi (relative minor) Chords FIGURE 155 Key of C I vi C Am

vi Am

IV F

FIGURE 156 Key of D I vi D Bm

V G

IV G

V A

5fr

I D 5fr

5fr

or 1444

231

134111

134211

132

134211

134211

13421

134211

1444

FIGURE 157 “Fifties-style” progression in D I D

vi Bm

 ad lib strum pattern º º º º

IV G

V A

º º º º

I D

vi Bm

º º º º

IV G

V A

º º º º

I D

º º º º

»

GUITAR DVD 15

FIGURE 158 Key of G I G

21

vi Em

34

IV C

23

I G

V D

32 1

132

FIGURE 159 same thing w/triplet arpeggiation G Em C

21

D

34

G

Em

C

D

G

   

                                                   £

0

0

0

0

0

2

3

0

0

0

2

3

0

1

0

2

0

2

2

0

3

2

3

      º º º £

3 5

  º º º

3

3

0

0

0

0

2

0

0

2

0

1

0

0

1

0

2

0

3

0

2

3

D/F#

0

3 3 4 5

2

4

3 0 0 0 2 3

2

   

2

3

0

3

G

    º º º

    º º º 1

0

0

C/E

0

0

4

0 3

FIGURE 160 16th-note arpeggiation pattern G Em (repeat prev. beat)

2

FIGURE 161 “Fifties-style” progression in A I A

vi F#m

IV D

V E

5fr

5fr

134211

134111

I A 7fr

1444

5fr

1444

134211

Using Inversions in Diatonic Chord Progressions FIGURE 162 G major triad inversions

       8v a                                           let ring µ sim. G

£

3

G/B

2

0 7

5

G/D G

5

5

5

4

10

G/B G/D

9

7

9

7

FIGURE 163 “raise-2” inversions G G/B G/D

     let ring

£

3







µ

sim.

7

8

5

9



8v a



10

 12

12

8



7

8

G

7

12

G

 

15

15

12

10

 19

17

FIGURE 165 I-V-vi progression in C using an inversion C

32 1

16 GUITAR DVD

G/B

2

4

Am

231

G/D

G/B

16

15

15

19

20

G/B

19

16

G

15

15

12

G/D

12

10

7

8

G/B G

7

4

3

G/D

3

5

3

4

0

0

G/B

0

0

2

£

 







2 0







5

2

4

7





11

6 7

FIGURE 166 same progression in a higher position C G/B

  £



 5

8





5 5

 5

7

 7

2

    

Am

5 5 7 7 5

0

E

A

9 9 9 7

5 5 6 7 7 5

   



5

10 7

0

3

FIGURE 164 “raise-2” inversions of A major A A/C# A/E

   

G

  

FIGURE 167 same progression w/arpeggiated open chords

  

C

G/B

Am

£

  

           let ring

0 2

3

2

0

1 0

2

0

0

0

2

2

0

1

1

2

FIGURE 168 I-V-vi progression in G using an inversion w/arpeggiated open chords G D/F# Em

let ring

£

2

FIGURE 169 diatonic progression in G w/inversions ad lib arpeggiation pattern

I G

21

V D/F#

34

1

243

vi Em

IV C

23

I G/B

32 1

2

      

ii Am

4

231

2

3

0

3

0

0

0



0

 0

   2

3

2

2



0

2

2

V D

21

0

0

0

0

0

2

0



FIGURE 170 alternate voicing for second-to-last chord in previous example

I G

231

3



   

D/F#

34

1

243

DOMINANT SEVENTH CHORDS FIGURE 171 dominant seventh chord played as a single-note arpeggio G7

root





£

3rd

5th





2

3

¨7th

3

FIGURE 173 Key of A I IV A D

132

Resolving the Tritone Interval FIGURE 174 Key of D I IV D G

132

21

3rd







5

234

root

5

V7 E7

I A

2314

234

V7 A7

3

  

let ring

£

0

5th

root

1113





2

2

3

2

IV F

V7 G7

I C 3fr

1444

134211

13124

6

   



3 2

2 3

£

FIGURE 177 Key of C I C

3

 

1 0 0 0 2 3

£

FIGURE 176 tritone resolution in D I V7 V7 N.C.(A7) (D) A7





¨7th

0 1 0 2 3

132

¨7th

3rd



I D

FIGURE 175 “stacked” A7 voicing root

   



5th

4

FIGURE 172 V7-I resolution in C G7 C

1444







I D





3 2

3

 2

0

0

FIGURE 178 tritone resolution in C V7 I (C) N.C.(G7)

  



£

5 5

6 4

GUITAR DVD 17

FIGURE 179 Key of A I IV A D 5fr

V7 E7

5fr

134211

FIGURE 180 tritone expansion V7 I N.C.(E7) (A)

I A 7fr

1444

1314

 

   

5fr

134211

FIGURE 181 same thing w/root notes added

   

 

E7



let ring

£

Inversions of Dominant Seventh Chords FIGURE 182 classical-style progression in C I V7 I C G7/D C/E

 









let each chord ring

£



5 3

4

5





6

5

IV F

  5

9 7



I C/E

 

8

£

10 6



10

7

8

 

8

5

10

let ring

V7 G7/D





I C





 

6

4

7

5

µ

0

6

7

10

6

0

ii Dm

 

9

7



µ





5 5

5

3

Secondary Dominant Chords FIGURE 183 Key of G I V7 G D7

32

4

FIGURE 184 Key of A minor i V7 Am E7

I G

213

32

4

231

V7 E7 5fr

134111

I G

i Am

5fr

2314

*V7/ii E7

5fr

3241

32

V7/vi B7

134111

4

vi Em

213 4

23

ii Am

V7 D7

5fr

134211

V7/IV G7

V C

3241

131211

1444

I G/B

1

134111

3241

V7 D7

ii Am

34

231

ad lib strum pattern

º º º

3 3 4 5 5 3

£

B7 2 4 2 4 2

Em

º º º

0 0 0 2 2 0

G7

º º º

Using Secondary Dominants with Inversions FIGURE 189 Key of F I F

V7/vi A7/E 5fr

43121

18 GUITAR DVD

vi Dm 5fr

31211

5fr

13421

3 3 4 3 5 3

C

º º º

5 5 5 3

G/B Am

213

º º

3 3 0 0 2

0 1 2 2 0

D7

º

2 1 2 0

G

º

3 0 0 0 2 3

134211

I G

32

FIGURE 188 “Fifties-style” progression in G w/secondary dominants G

I G

5fr

*“five-seven of two”

FIGURE 187 progression in G w/secondary dominants and inversions I G

231

FIGURE 186 pivoting on a secondary dominant seventh chord in the key of G

FIGURE 185 Key of A minor i Am

i Am

º

C

D7

0 1 0 2 3

2 1 2 0

4

o G 3 0 0 0 2 3

FIGURE 190 progression in F w/secondary dominants I F

V7/vi A7/E 5fr

vi Dm

V7/IV F7/C

5fr

43121

IV B¨

5fr

31211

6fr

13421

6fr

3 241

V7/V G7

V7 C7

I F

131211

13141

134211

I F/A 3fr

134211

2 134

VOICE-LEADING

The Minimal Movement Principle Applied to the I-IV-V Progression FIGURE 191 I-IV-V-I in E major E A

     £

0 1 2

 

B

 

E

2 2 2

4 4 4

0 0 1 2

 

FIGURE 193 same voicings on higher strings E

A

 

     4 5 4

£

B

5 5 6

I G

 

2 4 4

£

8



 

4 5 4

10

8

9





12

7

10



E

£

10 9 11

7 8 9

9 9 9

9 9 9





10

7

 8

IV C



7

£ 

 



    

FIGURE 195 same progression with higher inversions I IV V I G C D G

    

    

 

FIGURE 194 “raise-2” voicings in G

E



FIGURE 192 same progression w/higher inversions E A B

5

7

5



V D







8

3

5

£

9

7

V D

8v a

10

5

12

15

13

12

7

5

        



 

15

I G



14

10

14



 

4

FIGURE 196 higher inversions I IV G C



I G



12

 12

 15

12

SUS4 CHORD VOICINGS FIGURE 197 Key of D D Dsus4

132

134

132

FIGURE 199 Key of A A Asus4

234

FIGURE 198 Key of E E Esus4

D

231

234

32 1

FIGURE 201 Van Halen-style progression w/sus4 chords D Dsus4 C Csus4 B¨ B¨sus4 5fr

1333

5fr

1334

3fr

1333

234

231

FIGURE 200 Key of C C Csus4

A

234

E

1334

1333

D 3fr

1334

1333

34 1

Dsus4 5fr

32 1

F 5fr

1334

C

Fsus4 8fr

1333

Csus4 8fr

1334

C 3fr

1334

D 3fr

1333

5fr

1333

GUITAR DVD 19

FIGURE 202 fifth-string-root movable major and sus4 barre chords D

Dsus4

F

5fr

Fsus4

5fr

1333

8fr

1334

G

1333

D

Gsus4

8fr

10fr

1334

5fr

10fr

1334

1333

Gsus4

G

F#sus4

F#

144411

134211

144411

134211

1333

FIGURE 203 sixth-string-root major and sus4 barre chords B

Bsus4

B

7fr

Asus4

7fr

134211

7fr

144411

A 5fr

134211

5fr

144411

134211

NON-DIATONIC CHORD PROGRESSIONS (“Breaking the Rules”) FIGURE 204 a la “Light My Fire” intro G

D



5fr

134211

FIGURE 204 a la “Light My Fire” verse

F



8fr

1444

6fr

1444

A

A¨ 6fr

134211

Am

4fr

1444

5fr

134211

F#m 5fr

134211

134111

134111

FIGURE 206 a la “Paranoid Android” choir section Gm/B¨

G/B

Cm

A7

Dm

A 5fr

1

1342

3

1

3

2 3

1342

Dm

134211

F/A



Dm/C

5fr

E

E7sus4

Gm

Gm7/F

134111

1 4444

3fr

5fr

1342

1444

3 241

2 134

2 1

2 3

THE MINOR-DROP PROGRESSION FIGURE 207 Key of A minor Am

Am/G# (G#aug) 5fr

Am/G (C/G)

5fr

3111

Am/F# (F#m7¨5) 5fr

211

Am/F (Fmaj7)

4fr

111

1333

E

Am

3fr

1444

21

231

C

F

FIGURE 208 Key of F minor (a la “Michelle”) Fm

Fm/E (Eaug) 8fr

Fm/E¨ (A¨/E¨) 8fr

321

Fm/D (Dm7¨5)

8fr

231

Fm/D¨ (D¨maj7)

7fr

132

132

6fr

8fr

143

8fr

134211

1444

THE HARMONIC MINOR SCALE AND ITS DIATONIC TRIADS FIGURE 209 A harmonic minor scale up one string



   

scale degree: 1

£

0

2

m3

4

2

3

5

   



5

m6

7

1

       

7

8

11

12

£

3

FIGURE 211 A harmonic minor scale in first position

         £

0

2

20 GUITAR DVD

3

0

FIGURE 210 C major and A natural minor

2

3

1

2

5

2

3

5

2

4

       

5 0

FIGURE 212 chords in A harmonic minor i iv V V7 Am Dm E E7

231

231

231

2314

2

3

0

i Am

231

2

3

0

2

FIGURE 213 Key of E minor i Em

FIGURE 214 Key of D minor

iv Am

V7 B7

i Em

i Dm

iv Gm

V A

i Dm

5fr

23

231

213 4

23

5fr

13421

FIGURE 215 D harmonic minor scale

134111

5fr

134211

13421

        

FIGURE 216 thirds in D harmonic minor

£

£

7

9

10

12

14

15

18

                  8v a

19

6 7

7 9

10 10

11 12

14 14

15 15

17 18

18 19

20 21

22 22

6 7

5 6

3 3

2 2

FIGURE 217 diatonic triads in D harmonic minor i Dm

iiº Eº

III+ *F+

  



5 6 7

6 8 9

8v a

£

iv Gm

VI B¨

vii C#º

i Dm

i Dm



 

V A

9 10 10

10 11 12

12 13 14

13 15 16

15 17 18

17 18 19



 

 



 D harmonic minor scale                5 6 7 7 5

5

7

5

8

7

6

8

7

5 6 7 7 5

3 3 3 5 5 3

5

7

6

8

Dm arpeggio   D harmonic minor scale                  5 6 7 7 5

5

7

8

5

7

8

6

    

10 12



 

13



11 12 12



  

15

10 12

11

6

7

FIGURE 220 same progression w/arpeggiation Dm Gm/D A/C#

£

V A

5 6 7

3 5 6

1 3 3

0 2 2

 



A

 A Phrygian-dominant mode               

 G “Ukrainian minor” mode            

Dm

£

 

VI B¨

*“F augmented”

FIGURE 218 D harmonic minor chords and modes Dm Gm

£



vii C#º



10

10

Dm

  

12

10 11 12

13 10





13

7

5

7

8

3 3 3 5 5 3

5 5 6 7 7 5

7

8

6

7

5

6

8

5

5 5 6 7 7 5

FIGURE 219 “Orchestral” (“drop-2,” or “raise-2”) voicings in D harmonic minor i Dm

iv Gm/D

V A/C# 11fr

10fr

2 14

i Dm 10fr

2 14

10fr

2 14

FIGURE 221 same progression w/lower inversions Dm/F

Gm

A/E

Dm/F

3fr

1 24

2 14

1 24

1 24

12

GUITAR DVD 21

THE MODES OF THE MAJOR SCALE FIGURE 222 C major scale diatonic triads C Dm Em Fm

FIGURE 223 D Dorian mode diatonic triads

G Am Bº C

£

5 6 7

7 8 9

8 10 10

10 12 12

12 13 14

13 15 16

8v a

15 17 17

5 6 7

£

3 5 5

5 6 7

F G F Em Dm C Bº Am  Em               

£

8 10 10

10 11 12

8 10 10

7 8 9

5 6 7

3 5 5

1 3 4

G





let ring

£

Dm

Em



F

 

G



Am

0 1 2

1 3 4

3 5 5

5 6 7

7 8 9

8 10 10

10 12 12

12 13 14

FIGURE 229 C major scale/Ionian mode

£

5

6

5

8

7



10

12

  £



8

£

FIGURE 232 F Lydian mode 8v a







10

12

13



7 0

5

6

8

5

7

7



10

12

13

8

10

*optional: tune low E string down to D and use as a bass pedal tone

22 GUITAR DVD

1 3 4

0 1 2

0

G

Am G

F

Em Dm C



Am

8 10 10

10 12 12

12 13 14

8 10 10

7 8 9

1 3 4

0 1 2

10 12 12

5 6 7

3 5 5

5

6

8

5



C

Dm

Em



F

 

G



Am





1 3 4

0 1 2

1 3 4

3 5 5

5 6 7

7 8 9

8 10 10

10 12 12

12 13 14

13 15 16



 

7

8

 

 

FIGURE 231 E Phrygian mode

8v a         

10

£

5

6

FIGURE 233 G Mixolydian mode 8v a



12

14

  £

 

Am

       



       

* let ring

£

£



FIGURE 234 D Dorian mode and triads



3 5 5

F

FIGURE 230 D Dorian mode

         7

5 6 7



  

0

5

10 12 12

£



C

 

7 8 10 8 7 8 10 12 10 8 9 10 12 10 9

FIGURE 228 B Locrian mode triads



 

5 6 7

                    

0 1 2

Am



£

7 8 9

8v a

FIGURE 227 A Aeolian mode triads

 



let ring

FIGURE 226 G Mixolydian mode triads

F

7 8 9



7 8 10 12 13 15 17 8 10 12 13 15 17 18 9 10 12 14 16 17 19

FIGURE 225 F Lydian mode diatonic triads

8 10 10

               

Em Dm Em F G F Em Dm C Bº Am

              

             8v a

3 5 5

FIGURE 224 E Phrygian mode diatonic triads

Dm C Dm Em F G Am Bº C Dm

8







12

13

15

5

7

8

10







12

13

15

12

                         Dm C

Dm Em F

G

F

Em Dm C



Am Bº

C

Dm

5 6 7

5 6 7

10 12 12

8 10 10

7 8 9

1 3 4

0 1 2

3 5 5

5 6 7

3 5 5

7 8 9

8 10 10

5 6 7

3 5 5

1 3 4

          8v a                  

FIGURE 235 thirds in E Phrygian





let ring

£

8 9

6 7

5 5

3 4

1 2

0 0

1 2

3 4

5 5

6 7

8 9

  

 

 

 

 

 

 

 

1

3

5

7

8

10

12

13

2

4

5

7

9

10

12

14

£

    

FIGURE 237 G Mixolydian thirds



12 13

£

10 12

8 10

    

7 8

7 8

FIGURE 238 G major scale/ Ionian mode

£

12 12

10 10

7 8

8 9

8 10

10 12

12 13

10 12

8 10

7 8



3

5

7

£

4 5

   £

5 7

4 5 7

3 5



     3 5 7

5 6

5 6



7 8

7 8

5 6

7

3 5 7

    £

4 5 7

7

4 5 7

5

Modes Played in Sixths and Thirds FIGURE 246 C major scale in sixths

10 12 13 15 17

19 20

10 12 14 16 17

19 21

   





7 5

7





5 5





3 4

 

6

5

3

1

0

7

5

3

2

0

8 9

6 7

5 5

3 4

5 7

4 5





3

£

7

3 5 7

 

 

2

0

3

2

  3 5



£

4 5 7

7

8

10 12 13 15 17 19 20

22

5

7

9

10 12 14 16 17 19 21

22

2 3

0 2

3 5

2 3

  3 5 7

4 5 7



4 5

FIGURE 245 G Ionian, octave higher

   £

5 7

5



£

    4 5 7

3 5

FIGURE 241 C Lydian mode

FIGURE 244 F# Locrian mode

4

1 2

0 2

4

4 5 7

3

  

2 3

 

 8v a                  

              9

 

FIGURE 247 G Mixolydian sixths

8v a

8

 

£

4 5 7

FIGURE 243 E Aeolian mode

4 5 7

 

FIGURE 240 B Phrygian mode

   5

 

                    

FIGURE 239 A Dorian mode

FIGURE 242 D Mixolydian mode

£

10 10

0

FIGURE 236 F Lydian sixths



8 9

5 7

4 5 7

5 7

3

               3 4

6

5

3

1

0

7

5

3

2

0

2

0

3

2

 3

2

2

4

GUITAR DVD 23

FIGURE 248 G Mixolydian sixths

  







  

1

1

1

3

3

£ 

 

 

13

12

14

12

 kk   k

 

k12 10 k12

3



 









5 6

5 6

7 8

7 8

7 8

 

           

3

10

8

10

8

10

8

7

8

7

5

10

9

10

9

10

9

7

9

7

5

8

7

5

3

1

0

1

9

7

5

4

2

0

2

F

17 18

£

Bb Eb Ab Db(C#) Gb(F#) B

       £

10

8

6

6



4

4

15 17

13 15

E

12

9

10 12

7

2

£

15

13

11

11

5

3

9

9

7

7

£

8

5

5

F

Bb

8fr

134211

Eb 6fr

134211

134211

Ab 11fr

134211

134211

3

10

12

10

12

 k  ==    kk     k     k     = 5 5

7 8

F

k7 5 k7=5

k k

3

5 1 3

1

3

4

5 2 4

2

4

          

5 6

10 10

8 9

10 12

9 10

Bb Eb Ab Db Gb(F#) B

8

8

6

6

   £ Gb(F#)

8

8

4

4

   8

8

E

B

9fr

134211

k12 10 k12 10

7 9

5 7

4 5

2 3

E

A

D

G C

2

2



12

12

10

10

8

FIGURE 254 moving across, then down the neck

3

Db(C#) 4fr

8 10

 

 

              

 

FIGURE 255 major barre chords through the cycle C

10

k7 k7

C

                  13

12



 kk  k 

FIGURE 252 alternating fourths and fifths

A D G C

8va     14

12 13

FIGURE 253 another option

15

10

8v a           

FIGURE 251 moving through the cycle using fifths and fourths C

12

7 8

FIGURE 250 F Lydian thirds

              

  

   

 kk  k

10

FIGURE 249 F Lydian sixths

£

5 6



9

      

9

A

134211

7

5

342

134211

5

3

G

D 5fr

7fr

134211

7

3

1

C 8fr

10fr

134211

134211

134211

G

C

134211

1444

FIGURE 256 going through the cycle with 6th-string-root and 5th-string-root barre chords C

F 8fr

134211

Bb 8fr

1444

Eb 6fr

134211

Ab 6fr

1444

Db(C#) 4fr

134211

1444

FIGURE 257 same approach, starting higher up the neck C

1444

13fr

134211

24 GUITAR DVD

Eb

Bb

F 15fr

13fr

1444

11fr

134211

etc.

Gb(F#)

B

A

E

4fr

134211

1444

1444

D 5fr

7fr

134211

5fr

1444

MOVING DIATONICALLY THROUGH THE CYCLE OF FIFTHS FIGURE 258 Key of C Dm

G

C

10fr

134111



F

10fr

8fr

1444

Em

Am

6fr

134211

1444

Dm

7fr

421

5fr

13421

G

C

134211

1444

5fr

134111

13421

DIATONIC SEVENTH CHORDS FIGURE 259 stacking thirds to form a seventh chord Gmaj7









£

I ii7 iii7 IV7 Gmaj7 Am7 Bm7 Cmaj7

 

2

3

4

5





FIGURE 260 diatonic sevenths chords in G major

   

2 3 4 5

2 3 4 5

£

 

 

 

3 5 5 7

5 7 7 9

7 8 9 10

V7 D7

vi7 viiØ7 I7 Em7*F#Ø7 Gmaj7

 

8 10 11 12

 

 

 

10 12 12 14

12 13 14 16

14 15 16 17

I7 viiØ7 I7 Gmaj7 F#Ø7 Gmaj7

 

 

2 3 4 5

0 1 2 4

  2 3 4 5

*“half-diminished seven,” a.k.a. “minor seven flat-five”

FIGURE 261 diatonic seventh-chord arpeggios in G major

   £

Gmaj7

Am7

Bm7

Cmaj7

D7

F#Ø7

2

4

5

3

5

5

7

5

7

7

9

8

7

9

10

10

(octave higher)

4

7

7

7

5

9

8

7

9

10

11

9

10

12

12

10 12

10 14

12 14

D7

12 12

11 14

13 14

12 16

12

15

14 15

14 17

16

 Gmaj7       

 Em7      

Am7 Bm7 Cmaj7                  Gmaj7

5

9

Gmaj7

       

                        3



Em7

F#Ø7

15 16

14 17

17 17

16 19

19

FIGURE 262 diatonic seventh-chords in C major I7 Cmaj7

ii7 Dm7

iii7 Em7

IV7 Fmaj7 3fr

32

4321

4321

V7 G7

5fr

4311

vi7 Am7 6fr

viiØ7 BØ7 8fr

4321

I7 Cmaj7 10fr

4321

4311

12fr

4311

FIGURE 263 open voicings in G major Gmaj7

 

Bm7

7 7 7 5

8 8 9 7

10 10 11 9

£

Am7

 

   

 

 

F#Ø7

Gmaj7

 

Gmaj7

 

F#Ø7

Em7

D7

15 15 16 14

17 17 17 16

19 19 19 17

7 7 7 5

5 5 5 4

3 3 4 2

2 1 2 0

D7

 

Em7

8v a

12 12 12 10

14 13 14 12

Cmaj7

 

FIGURE 264 same type of voicings on the middle four strings Gmaj7

Am7

10fr

1324

Bm7

CMaj7

D7

12fr

1312

1312

1324

1314

7fr

1312

 

 

F#Ø7

Em7

5fr

 

9fr

1324

GUITAR DVD 25

Jazz-Style Seventh Chord Voicings Without the Fifth FIGURE 265 G major chord scale with the root, seventh and third i Gmaj7

 £

ii7 Am7

   

iii7 Bm7

IV7 Cmaj7

vi7 Em7

viiØ7 *F#Ø7

I7 Gmaj7

I7 Gmaj7

 

 

 

 

 

 

 

V7 D7

viiØ7 *F#Ø7

 

vi7 Em7

 

 

4 4

5 5

7 7

9 9

11 10

12 12

14 14

16 16

4 4

2 2

0 0

3

5

7

8

10

12

14

15

3

2

0

*diminished fifth is implied

FIGURE 266 same kind of voicings on the A, G and B strings Gmaj7

Am7

10fr

Bm7 12fr

1 24

Cmaj7 14fr

1 24

D7

1 24

5fr

1 24

F#Ø7

Em7

15fr

9fr

7fr

1 24

1 24

1 24

FIGURE 267 same kind of voicings on the D, B and high E strings Gmaj7

Am7

5fr

Bm7 7fr

1 34

Cmaj7 9fr

1 34

Em7

D7 10fr

1 34

1 34

16fr

1 34

1 34

Gmaj7

F#Ø7 14fr

12fr

1 34

17fr

1 34

MORE NON-DIATONIC CHORD PROGRESSIONS (“Breaking the Rules,” part 2) FIGURE 268 modulating down in whole steps, a la “I’ve Seen All Good People” Bb

C 15fr

13 4

Ab 13fr

13 4

Ab

8fr

2 14

E

9fr

F 8fr

13 4

Gb(F#) 11fr

Eb/G 11fr

13 4

B/D# 7fr

C# 4fr

4fr

13 4

13 4

13 4

2 14

13 4

E

D

C

G/B

A

7fr

13 4

5fr

13 4

2

13 4

Bb 15fr

1444

Ab 13fr

1444

26 GUITAR DVD

Eb 11fr

1444

F 11fr

1342

 



Bb

13fr

1342

Bb

Ab

13 4

13 4

C

D

Bb

Ab

Gb

1444

Db

1444

B

2 14

13 4

F/A

G

11fr

1342

1342



Ab 11fr

1444

 

C 8fr

13 2

13 2

Eb 9fr

9fr

11fr

A/C#

3 14

13 2

13 2

13 4

6fr

8fr

10fr



6fr

5fr

13 4

13 4

13 4

Eb 6fr

2 14

D 7fr

9fr

Db/F 9fr

13 4

E

F#

13fr

1444

Gb 11fr

13fr

13 2

1 2

4

FIGURE 269 same progression without inversions C



etc.

DESCENDING VOICE-LEADING: THE MAJOR-DROP PROGRESSION FIGURE 270 progression in G w/descending voice

  

   G

Gmaj7

 

G7

 

C

 

Cm

 

G

D7

  

G

£

3 4 5

3 4 4

3 4 3

1 0 2

1 0 1

0 0 0

2 1 2 0

3 3 0 0 2 3

 

FIGURE 271 progression in C, a la “Something” verse C

C7

Cmaj7

F

D

G

Am 5fr

32 1

3241

32

(G#aug) Am/G#

(C/G) Am/G

5fr

211

134211

D7

132

32



F

5fr

4

G7/D 6fr

111

3241

134211

311

C 4fr

1444

2 14

1444

USING FIRST-INVERSION TRIADS AS “PIVOT CHORDS” FIGURE 272 modulating up in minor thirds with inversions A

C

G/B

Bb/D

Eb

Db/F

3fr

111

1

1444

3

2 14

2 14

1444

A

E/G#

Gb 9fr

6fr

6fr

12fr

9fr

1444

2 14

1444

C

G/B

A

1

3

111

C

G/B

A

5

3 0

2

FIGURE 273 modulating down in minor thirds with inversions E/G#

A 12fr

Gb 9fr

1444

Db/F 9fr

2 14

Eb

Bb/D

6fr

1444

2 14

6fr

3fr

1444

2 14

1444

FIGURE 274 same progression with open voicings fingerpicked

  £

A

 

 

  

  

   

14

12 9

11

9 6

8

E/G#

14 12

F#(G¨)

D¨/F

11 9

11



B¨/D

  6 3

8 6

8

5

  5 3

 

   2 0

2

FIGURE 275 same approach used with alternating minor and major triads E/G#

Am 12fr

13 2

F#m 9fr

2 14

Db/F 9fr

13 2

Ebm 6fr

2 14

Bb/D 6fr

13 2

Cm

G/B

13 2

1

Am

3fr

2 14

3

2 1

GUITAR DVD 27

BONUS SECTION!!! Chord Voicings (in addition to the obvious Power Chords) that Cut Through Heavy Distortion FIGURE 276

FIGURE 277

FIGURE 278

FIGURE 279

FIGURE 280

FIGURE 281

Esus4

Bsus4

Asus2

C#m7

F#m7add4

F#m7add4

FIGURE 282

234

134

23

Gsus2

Csus2

3fr

3fr

4fr * T3 4 1

134

124

124

2 34

*fret w/thumb

FIGURE 283

FIGURE 284

Bsus2

G

FIGURE 285 Csus2

G

FIGURE 286-287

C#m7

Dadd 24 Fmaj7add2

C

6fr

13411

134211

13411

134211

314

32 1

FIGURE 288 E

G6

Aadd2

Badd4 5fr

1342

1342

FIGURE 291 F#7sus4

8fr

1342

1342

FIGURE 292 G5

D 69

Cmaj7 7fr

1342

G6

9fr

134

32 1

FIGURE 289

F#7add4

342

32 1

E 10fr

1342

12fr

D9 7fr

1342

FIGURE 293

Csus2

FIGURE 290 6

E5

Cmaj7 5fr

134

134

134

FIGURE 294

Fsus2

D/F#

G5

Esus4

Fsus2

E

10fr

134

2

34

2

34

T3 4 1

2

34

1

243

234

T3 4 1

231

FIGURE 295 Bsus4

B

Csus4

C 3fr

1334

1444

1334

Dsus4 3fr

1444

E9 6fr

213

Esus4

1334

5fr

1444

E 7fr

1334

7fr

1333

FIGURE 297 a la “The Big Empty”

FIGURE 296 E7

D 5fr

A9 6fr

G

A7add4

5fr

2134

21

34

21

34

B¨6add#11/A

Cadd2

4fr

13

FIGURE 298 a la “Vasoline”

7fr

21

6fr

34

1 324

The Overtone Series (Harmonics) FIGURE 299 natural harmonics (overtone series) on the low E string 1st harm. (fundamental)

E

 £

 0

28 GUITAR DVD

2nd harm. (octave)

3rd harm. (octave + fifth)

N.H.





4th harm. (two octaves)



5th harm. (two octaves + major third)



N.H.

12

6th harm. (two octaves + fifth)



7th harm. (two octaves plus b7)

8th harm. (three octaves)





2.8

2.5

9th harm. (three octaves + second/ninth)



*

7

5

4

3.2

2.2

*harmonic located approximately 2/10 the distance from the third fret to the fourth

View more...

Comments

Copyright ©2017 KUPDF Inc.
SUPPORT KUPDF